Il Liuto Di Leonardo 2
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The Golden Age” Elizabethan Lute Music
“THE GOLDEN AGE” ELIZABETHAN LUTE MUSIC Massimo Marchese - liuto rinascimentale “THE GOLDEN AGE” ELIZABETHAN LUTE MUSIC Henry VIII Pastime with good company Philipp Van Wilder Fantasie/Philip’s Dump John Dowland Preludium/Lachrimae Antiquae /Earl of Essex’ Galliard Francis Cutting Almain/Jig/Greensleeves/Squirrell’s toy ANONIMO SCOTTISH MUSIC A Scott Tune The Gypses Lilt Another Scott Tune A Port A Dance Canaries Anonymous Spanish Pavin/De la courte/Bonny sweet boy/Jig John Dowland Sir John Smith’s Almain Semper Dowland Semper Dolens A Fancy Massimo Marchese: liuto a 8 cori - Paul Thomson, Bristol 1992 Curriculum ...As one of the best professional players in Italy on the lute and theorbo, he is now in a position the share his knowledge with the younger generation... Jakob Lindberg, 28 febbraio 2006 Affermato a livello internazionale come uno dei più raffinati interpreti della sua generazione, Massimo Marchese vanta ormai una lunga carriera che l'hanno portato a lavorare e collaborare con alcune delle più famose formazioni di musica antica e ad esibirsi come solista in numerose parti del mondo. Con all'attivo oltre 18 pubblicazioni discografiche di cui 8 come solista (RCA, Stradivarius, Tactus, Brilliant, Centaur Records, ecc...), può vantare quindi uno dei curriculum più ampi per il suo strumento. Si avvicina giovanissimo allo strumento iniziando con il M° Jakob Lindberg e conseguendo il diploma presso il "Royal College of Music" di Londra. Specializzatosi podio con il M° Paul O'Dette e con i M.ri Nigel North e Hopkinson Smith inizia ufficialmente l'attività concertistica dal 1980 come solista e continuista, lavorando con cantanti come Nigel Rogers e Furio Zanasi, rinnovando la collaborazione proprio con Jacob Lindberg (membro del gruppo "Dodekachordon") e proseguendo con Enrico Gatti, Ottavio Dantone e Flavio Emilio Scogna, solo per citarne alcuni. -
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94437 Robert La Musiqude dee lVa Chambires déu Re oy dVOLUME 2 VOLUME 2 MANUEL STAROPOLI · MASSIMO MARCHESE ROSITA IPPOLITO · MANUEL TOMADIN 94437 De Visee_BL2 v6_BRILLIANT 29/05/2013 10:56 Page 2 Robert de Visée: Musique à la Cour de Versailles in all the suites, and well suited to the family of recorders (without any need for transposition). Recorders were extremely popular wind instruments during the Baroque period, especially the treble We know little about this composer’s life, and even the dates of his birth and death are somewhat recorder. Apart from this latter, we have included the descant and the bass recorders. The bass is uncertain (c.1655 –1732/3). Possibly a pupil of Francesco Corbetta’s, he is known to have played the tuned to F, precisely one octave below the treble. The fact that the number of baroque bass guitar, the lute, the theorbo and the viola da gamba, and was a singer as well as a composer. The recorders that have come down to us is surpassed only by that of their treble counterparts suggests earliest reference to him dates back to 1680, when he was described as the ‘Célèbre Jouer de that the instrument was commonly used not only as an accompaniment for the basso continuo, but Théorbe’, worthy of mention alongside illustrious musicians such as Mouton, Chambonnières, also for solo parts. A case in point is the famous sonata by C.P.E. Bach for bass flute, viola and Couperin and Sainte Colombe. Following his appointment that year as chamber musician to King basso continuo. -
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94154_De Visee_BL1.qxd 22/2/11 13:49 Page 1 94154 Robert eVisée La musiqued de la Chambre du Roy MANUEL STAROPOLI MASSIMO MARCHESE CRISTIANO CONTADIN 94154_De Visee_BL2 v3.qxd 22/2/11 13:50 Page 2 Robert de Viseé Little is known of Robert de Viseé. Even his birth and death places and dates are uncertain. We may say he was one of Francesco Corbetta’s student; he played the guitar, the lute, the theorbo, the viola da gamba; he was a singer and a composer. Our first source dates from 1680 when he was known as a ‘Célebre Jouer de Théorbe’ and his name was partnered with such prestigious musicians as Mouton, Chambonnière, Couperin and Sainte Colombe. He became chamber musician to Louis XIV, and then guitar teacher to Louis XV. His main task was that of playing the guitar when the King was going to retire at night. Among his extant compositions are these ‘Pieces de Théorbe et de Luth mises en partition, dessus et basse’ published in Paris in 1716. The collection consists of 10 varied suites gathered according to their tonality in which there is a great variety of pieces, chosen at the performer’s will during his performances. Our choice of instruments, leaving out the harpsichord, is based on a search for an atmosphere that is even more appropriate to chamber music. The theorbo, thanks to its versatility and its low register, made the composers use it even as a favourite instrument for the realization of a basso continuo able to exalt the singing part without being too pushy. -
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95027 Ro�e� LaVOLUME musique 3 de la chambre du Roi de�i�é� Manuel Staropoli · Lorenzo Cavasanti · Massimo Marchese Cristiano Contadin · Manuel Tomadin ROBERT DE VISÉE (1655-1733) 33. III. Sarabande 1’28 Suite in C minor/major (1716 – 1682) for 34. IV. Gigue 1’27 recorder, bass recorder, harpsichord and viola La musique de la chambre du Roi Vol.3 da gamba CD2 58’32 20. I. Allemande grave 4’06 CD1 59’55 17. II. Courante 1’30 Suite in G minor from “Livre de pieces 21. II. Allemande grave 3’32 1. Allemande in E minor (1716) for 18. III. Sarabande en Rondeau 2’00 pour la Guittarre dedie Au Roy” (1686) for 22. III. Courante 1’00 recorder, harpsichord, theorbo, viola da 19. IV. Gavotte 0’55 recorder, harpsichord, theorbo and viola da 23. I V. Sarabande 1682 2’45 gamba 2’55 gamba 24. V. Gigue 1’13 Suite in D minor (1682 - 1716) for recorder, 1. I. Allemande 2’13 Suite in G from “Livre de Guittarre dedie bass recorder, harpsichord, theorbo and viola 2. II. Sarabande 1’04 Suite in A minor from “Livre de Guittarre Au Roy” (1682) for recorder, harpsichord, da gamba 3. III. Gigue 0’52 dedie Au Roy” (1682) for recorder and theorbo and viola da gamba 20. I. Allemande (1682) 2’42 4. IV. Sarabande 1’01 theorbo 2. I. Allemande 2’45 21. II. Courante (1716) 1’07 5. V. Menüet 0’54 25. I. Allemande 3.28 22. III. Gavotte (1682) 0’49 26. II.